And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.
We wish to work in total freedom.
We tell them that we believe it will be beautiful because that is our specialty, we only create joy and beauty. We have never done a sad work. Through the drawings, we hope a majority will be able to visualize it.
In 1964, when we first arrived in New York City, I remember vividly seeing the skyline of Manhattan, and our first proposal of 1964 was to wrap two lower Manhattan buildings. We never got permission.
I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
We never work on only one project because we never know if we will get permission for a project. So, for 'Over the River,' we started in 1992. I was just finishing 'The Umbrellas' in Japan and California, and I was also working on getting permission to wrap the Reichstag.
